Assignment Sample For University Uk Drama

This is how you would list your references at the end of your assignment in alphabetical order by author.

References

Cameron, B (Minister for Corrections, Victoria) 2007, Construction begins on high security unit, media release, Victoria, 28 March,
viewed 16 April 2007, <http://www.dpc.vic.gov.au>.

 

Douglas, N, Douglas, G & Derrett, R (eds) 2001, Special interest groups: context and cases, John Wiley & Sons, Brisbane, Qld.

 

Farley, J 2008, ‘The role of prices in conserving critical natural capital', ConservationBiology, vol. 22, no. 6, pp. 1399-1408,
viewed 23 February 2009, <http://www3.interscience.wiley.com/cgi-bin/fulltext/121544162/PDFSTART>. 

 

Guidebook to Australian social security law 1983, CCH Australia, North Ryde, NSW.

Hatch, JA 2002, Doing qualitative research in education settings, State of , Albany.

Kneller, JP 1963a, Is logical thinking logical?, Ponsonby & Partridge, Dubbo.

 

----- 1963b, 'Thinking and logical interaction', Brain Logic, vol. 257, no. 4, pp. 54-62.

 

MacFarlane, I 2002, 'Aboriginal society in North West Tasmania: dispossession and genocide', PhD thesis, University of Tasmania.

 

Man with the movie camera 1998, video recording, Chatsworth, CA. Distributed by Image Entertainment. Directed by Dziga Vertov.

 

O'Connor, DJ 1957, An introduction to the philosophy of education, Routledge & Kegan Paul, London.

 

Peirson, G, Brown, R, Easton, S, Howard, P & Pinder, S 2006, Business finance, 9th edn, McGraw-Hill, North Ryde, NSW.

 

The search for meaning 1998, radio program, ABC Radio, Sydney, 24 March.

 

Treloar, D 1999, 'Grains of sense', Australian Gourmet Traveller, November, pp. 29-30, 64.

 

University of Tasmania Library 2010, Management library guide, University of Tasmania Library,
viewed 19 March 2010, <http://utas.libguides.com/management>.

 

Wallis, C 1992, 'Asymmetric dependence and mental representation', Psychology, vol. 3, no. 70,
viewed 18 November 2003,

<http://psycprints.ecs.soton.ac.uk/archive/00000294/>

 

Whiteley, BC 1979, 'Emotional response', Brain Talk, vol. 2, no. 12, pp. 234-5.

Overview

Drama is a hugely popular art form. This creative and critical course will help students to turn their passion for drama, whether stage, radio, television, or film, into the craft of dramatic writing, and to understand and appreciate the work of established dramatists.

Listen to Nicholas McInerny talking about the course:

People love drama. Theatre attendance exceeds that of football matches every week, and television audiences are still counted in their millions. Radios popularity is increasing, and Cinema receipts rose to a record level last year. At the heart of all this drama is the script - the focus of our course. The approach of this course is both creative and critical. After a methodological introduction, students will learn the key elements of successful dramatic writing: structure; characterisation; dialogue; and be shown how to employ these in their own work. They will also acquire greater understanding of the four main media: stage; radio; television; and film; as well as insights into genre and adaptation. This course is for anyone who wants to write drama, or to learn more about how drama is written, in an environment that is supportive and inspirational.

For information on how the courses work, and a link to our course demonstration site, please click here.

Programme details

1. In The Beginning

  • All for one, one for all
  • Online resources
  • The Writer’s journal
  • Don’t get it right, get it written
  • Audiences

2. Where do Stories come from?

  • Nothing new under the sun
  • What works best?
  • Building a world
  • The iceberg principle
  • Giving the audience what they want but not in the way they expect it
  • Working through the complexity to the simplicity beyond

3. Structure 1: Building Blocks

  • The rules
  • Changing the rules
  • Rules within rules
  • The 3 R’s
  • Story v plot v narrative
  • Exposition

4. Structure 2: Focus

  • Who is Hamlet?
  • Dialectics
  • Axis and currency
  • Author, author!
  • Moral centre

5. Structure 3: Variations on a Theme

  • Genre
  • Working with genre
  • Genre in television and film
  • Anti-genre and high concept
  • Cops ‘n docs
  • Adaptation
  • Adaptation – Different takes

6. Characterisation

  • Character – A short history
  • Character – Base camp
  • Character – Inner v outer
  • Character = action
  • Conflict and jeopardy
  • Sympathy v empathy

7.  Dialogue

  • Function
  • Status
  • Sub-text and metaphor
  • Soliloquy
  • Theatre, radio, television or film?
  • Finding a voice
  • Show, don’t tell

8. Making a Scene

  • Scenes – Programme
  • Scenes – Context
  • Scene – Action
  • Scene – Situations
  • The obligatory scene

9. Difference and Similarity

  • Writing for the theatre
  • Writing for the radio
  • Writing for television
  • Writing for film
  • Format

10. From Page to Stage

  • Collaboration
  • Rewriting and editing
  • Script editing
  • Opportunities
  • Expectations

We strongly recommend that you try to find a little time each week to engage in the online conversations (at times that are convenient to you) as the forums are an integral, and very rewarding, part of the course and the online learning experience.

Recommended reading

To participate in the course you will need to have regular access to the Internet and you will need to buy the following books:

  • Edgar, David, How Plays Work (Nick Hern Books, 2009)
  • Egri, Lajos, The Art of Dramatic Writing (Touchstone,New York) either the 2004 edition or 2010 edition will be fine.

In addition, pick one of the following plays and read it. You will be referring to it several times during the course.

  • Anton Chekhov, Uncle Vanya
  • Henrik Ibsen, A Dolls House
  • J M Synge, The Playboy of the Western World

As Synge is out of copyright any edition will do. For consistency on Ibsen and Chekhov translations I suggested Penguin Modern Classics.

Alternatively, you can access all these plays on www.gutenberg.org

Certification

To earn credit (CATS points) for your course you will need to register and pay an additional £10 fee for each course you enrol on. You can do this by ticking the relevant box at the bottom of the enrolment form or when enrolling online. If you do not register when you enrol, you have up until the course start date to register and pay the £10 fee.

For more information on CATS point please click on the link below: http://www.conted.ox.ac.uk/studentsupport/faq/cats.php

Coursework is an integral part of all online courses and everyone enrolled will be expected to do coursework, but only those who have registered for credit will be awarded CATS points for completing work at the required standard. If you are enrolled on the Certificate of Higher Education you need to indicate this on the enrolment form but there is no additional registration fee.

Assignments are not graded but are marked either pass or fail.

All students who successfully complete this course, whether registered for credit or not, are eligible for a Certificate of Completion. Completion consists of submitting both course assignments and actively participating in the course forums. Certificates will be available, online, for those who qualify after the course finishes.

IT requirements

This course is delivered online; to participate you must to be familiar with using a computer for purposes such as sending email and searching the Internet. You will also need regular access to the Internet and a computer meeting our recommended minimum computer specification.

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